TDTKs March 2011


Projectors invade the auditorium to reveal four amazing double screen works.
Interaction, juxtaposition, synchronization and repetition drive these films which force the viewer to re-examine what constitutes cinema. The action here is not just what is exposed on the filmstrips – it also belongs in the moment of projecting.

These are all seminal examples of cinema expanded: from the poetic to the explosive with chemical, mechanical and organic transmissions.

Razor Blades              Paul Sharits                         ( USA /1965-1968 /16mm/25mins)

A film that cuts deeply, consciously challenging our eyes, ears and minds to withstand a barrage of high-powered stimuli, we feel at times hypnotised and re-educated by some potent and mysterious force. Colour fields, stills and text are looped and re-organised in a piece that feels like perpetual motion.

Berlin Horse             Malcolm Le Grice            (UK/ 1970/ 16mm /
8 mins)

An 8mm sequence was shot in the village of Berlin near Hamburg, then re-filmed at different speeds and directions and at different angles. Later it was re-coloured in the film-printer with multiple superimposition. It was finally combined with early newsreel. It is a poetic drama where the sequence of image transformations and the ‘narratives’ are integrated as the content. The sound is an original track by Brian Eno.

Play                                    Sally Potter                        (UK /1971/16mm /7 mins)

Three pairs of twins filmed as they play on a sidewalk, two cameras mounted so that they record the two connected spaces. The two images recreate the original space, but the cinematic division is emphasized by the fact that the left image was filmed in color, the right image in black and white. When the children suddenly move from one space to the other, ‘through’ the frame lines, their originally continuous movement is transformed into cinematic magic

Light Music                        Lis Rhodes                          (UK / 1975 /16mm/25mins)

Light Music is as much about sound as it is about image; the relationship is necessarily dependent as the optical soundtrack ‘makes’ the music.
In this legendary work the imagery is restricted to lines of horizontal bars across the screen: there is variety in the spacing (frequency), their thickness (amplitude), and their density (tone).